A few remarks to those who are ambitious of excelling in the art may now be given, showing how they may best proceed in improving themselves therein.
The following rules are worthy of strict attention:—1. Let your articulation be distinct and deliberate. 2. Let your pronunciation be bold and forcible. 3. Acquire a compass and variety in the height of your voice. 4. Pronounce your words with propriety and elegance. 5. Pronounce every word consisting of more than one syllable with its proper accent. 6. In every sentence distinguish the more significant words by a natural, forcible and varied emphasis. 7. Acquire a just variety of pause and cadence. 8. Accompany the emotions and passions which your words express, by corresponding tones, looks and gestures.
To follow nature is the fundamental rule in oratory, without regard to which, all other rules will only produce affected declamation not just elocution. Learn to speak slowly and deliberately, almost all persons who have not studied the art have a habit of uttering their words too rapidly. It should be borne in mind that the higher degrees of excellence in elocution are to be gained, not by reading much, but by pronouncing what is read with a strict regard to the nature of the subject, the structure of the sentences, the turn of the sentiment, and a correct and judicious application of the rules of the science. It is an essential qualification of a good speaker to be able to alter the height as well as the strength and the tone of his voice as occasion requires, so accustom yourself to pitch your voice in different keys, from the highest to the lowest; but this subject is of such a nature that it is difficult to give rules for all the inflections of the voice, and it is almost, if not quite impossible to teach gesture by written instructions; a few lessons from a good and experienced teacher will do more to give a pupil ease, grace, and force of action than all the books and diagrams in the world. Action is important to the orator, and changes of action must accord with the language; the lower the language the slower should be the movements and vice versa, observing Shakespeare's rule: "Suit the action to the word, the word to the action, with this special observance—that you o'erstep not the modesty of nature." Study repose, without it, both in speech and action, the ears, eyes, and minds of the audience, and the powers of the speaker are alike fatigued; follow nature, consider how she teaches you to utter any sentiment or feeling of your heart. Whether you speak in a private room or in a great assembly, remember that you still speak, and speak naturally. Conventional tones and action have been the ruin of delivery in the pulpit, the senate, at the bar, and on the platform.
All public speaking, but especially acting and reciting, must be heightened a little above ordinary nature, the pauses longer and more frequent, the tones weightier, the action more forcible, and the expression more highly coloured. Speaking from memory admits of the application of every possible element of effectiveness, rhetorical and elocutionary, and in the delivery of a few great actors the highest excellence in this art has been exemplified. But speaking from memory requires the most minute and careful study, as well as high elocutionary ability, to guard the speaker against a merely mechanical utterance. Read in the same manner you would speak, as if the matter were your own original sentiments uttered directly from the heart. Action should not be used in ordinary reading.
Endeavour to learn something from every one, either by imitating, but not servilely, what is good, or avoiding what is bad. Before speaking in public collect your thoughts and calm yourself, avoiding all hurry. Be punctual with your audience, an apology for being late is the worst prologue. Leave off before your hearers become tired, it is better for you that they should think your speech too short than too long.
Let everything be carefully finished, well-polished, and perfect. Many of the greatest effects in all arts have been the results of long and patient study and hard work, however simple and spontaneous they may have appeared to be.
Remember, that the highest art is to conceal art, that attention to trifles makes perfection, and that perfection is no trifle.
PART I.
I.—PHYSICAL CULTURE.
Calisthenics
Walking
Sitting
Kneeling
II.—BREATHING EXERCISES.
Directions for Breathing
III.—ARTICULATION.
Articulation
IV.—ELEMENTARY SOUNDS, ETC.
Elements
Pronunciation and Accent
V.—QUALITIES OF VOICE.
I. Pure
II. Orotund
III. Guttural
IV. Tremor
V. Aspirate
VI. Falsetto
VI.—FORCE.
I. DEGREES.
I. Gentle
II. Moderate
III. Heavy
II. VARIATIONS OF FORCE, OR STRESS.
I. Radical
II. Median
III. Vanishing
IV. Compound
V. Thorough
VI. Semitone
VII. Monotone
VII.—TIME.
I. Moderate
II. Quick
III. Slow
VIII.—PITCH.
I. Middle
II. High
III. Low
IV. Transition
IX.—PAUSES, INFLECTIONS, ETC.
I. Rhetorical pause
II. Emphasis
III. Climax
IV. Inflection
V. Circumflex or Wave
X.—PERSONATION.
I. Personation
II. Expression
XI.—GESTURE.
I. Position of the Hand
